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Film reviews

Gladiator II

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This is a sequel that still leaves moments to conquer. Through the eyes of director Ridley Scott, Gladiator II carries the weight of the Colosseum at its peak but finds itself ready to topple over. It is a continuation of events from the first film in the franchise. It has a settled approach that keeps a historic vibe of emperors and kingdoms at large. The conflict, however, is that it’s mostly about the warfare and violence than the plot. With an all-star cast, the heightened games go full throttle in Gladiator II.

The new opponent who steps foot in the Colosseum is Lucius (played by Paul Mescal). He comes from Rome and is makinghis footsteps towards redemption. Lucille (played by Connie Nielsen) is back after the devastating events of Maximus (played by Russell Crowe) in the first film. Lucius may be the one who stands under what Maximus has achieved before. Is Lucius destined for the games? In an era where tyranny is in the depths of Rome, the battles in Gladiator II have an eerie awakening. As expected, Scott knows how to label characters and establish their authority.

The Master of the Gladiators is Macrinus (played by Denzel Washington). Washington’s performance as one ruthless emperor with a pontificating nature aids the film’s consistencyin keeping the battles coming. The king out for positive glory on behalf of the greater people is Marcus Acacius (played by Pedro Pascal). Between these two hierarchies, the battles are what makes sense in finding who stands tallest in Gladiator II. With all the civilization and prophecy themes, Gladiator II cares more about the suspense in the Colosseum than finding a sophisticated the plot.  Therefore, the historical aspect in this film is lacking.

With Mescal playing the hero out for glory, he is a positive addition to this sequel. His character has a heartfelt and consistent attitude as well as kind-hearted spirit dedicated to a better purpose. Even though the context lacks during most of the movie, he still manages to provide some enjoyable parts. WithWashington promoting the ruthless matches, the characterizations of heroism for both the good and the bad tumble ferociously in Gladiator II.

Most of the characters outside of Mescal and Washington do not fit in this film. The two emperors who play brothers, Emperor Greta (played by Joseph Quinn) and Emperor Caracalla (played by Fred Hechinger), cause the film to suffer. They are the most overrated emperors in a film by Scott. Their characters kill the film’s chances of being taken seriously. Gladiator II seems to care more about creating Hollywood buzz than creating a historic vibe. This is disappointing for a film by Scott, especially a sequel. He does well in the beginning, but then the pattern shifts and the writing before and after the matches hits frequent roadblocks. The battles are the best part of the movie, but not enough to make up for the other parts. Two out of four stars for Gladiator II.

Film reviews

Red One Review

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The holiday cheer of adventure has action. Red One is full of joy, laughter, and cheerfulness. The director is Jake Kasdan. He delivers a unique Christmas flick. It is one of the many essential components of Christmas: Santa Claus, a naughty/nice list, elves, and the North Pole. It brings in much anticipation around its holiday spirit. Despite its efforts, it is an average Christmas ride.

Santa Claus (played by JK Simmons) is an important character. He is on a mission to do his duties for his duties on Christmas Eve. His assistant is Callum Drift (played by Dwayne Johnson). Their world of the North Pole is like a virtual world video game of Christmas grandeur. The tradition of Christmas hits a plateau. There has been a kidnapping of Santa. Callum tracks down a bounty hunter to help him get Santa back. That man is Jack O’Malley (played by Chris Evans). He is a deadbeat dad with many technological skills. With two butting knuckleheads (Johnson and Evans), they must learn to work together to get Santa back before time runs out.

Red One is interactive through the many fictionalized settings of Christmas. The film brings in wonders of the Christmas extravaganza. The film consists of reindeer games, sleigh riding, and lots of quirks. The performances of Johnson and Evans make Red One feel like a mediocre and lighter version of Die-Hard movie. That is because its setup feels like Die-Hard. Its addition is the many Christmas miracles sprinkled on the top. There are also Christmas creatures, magic tricks, and lots of imagination.

Red One is fun for the mindsets of a Christmas in peril expectation. The fact that Santa is missing delivers the expectation that presents may not be under the tree (for its younger audience). Its twist is the presents may come to life. The directing consists of moments of toy transformations to assist in the battles of saving Santa. The definition of context of a “lighter version of Die Hard.” An approach with the festive and pleasant jeopardy of Christmas continues down the rabbit hole of mediocrity.

Johnson and Evans are the main forces of redemption for a miracle. Simmons has a moment of that (later in the film). With Johnson and Evans being labeled as the heroes, it is like watching Johnson on a break from the world of wrestling. Evans is taking a break from playing Captain America. Instead, they are putting forth the effort to get Santa back so Christmas can go on.

I found my experience with Red One captivating because of its moments of suspense in motion. I saw this in 4DX. My seat vibrated vigorously. Water would spray into the audience. I felt I had the rollercoaster ride of Red One for a North Pole movie feeling. That added lots of excitement and vibrations throughout my mind. The film itself was still cheesy. Red One is swell if audiences go in without expecting to take Red One seriously. Red One is average to find its hero tracks for a saved Christmas—two out of four stars for Red One.

Film reviews

Smile 2 Review

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The sequel feels promising. The beginning delivers that menacing momentum. It picks up a few days after the events of the first film. Its transition goes right to have its shock value. That “shock value” is the menacing grins (aka the title itself). Smile 2 holds its grip on terror. The redundancy comes around.

There is a form of feeling like an old-school horror film. That is because the opening title feels like an Alfred Hitchcock approach. There is a red background over the sequencing (of the introduction). From this, the film begins on a high note (creating discomfort for scares). The progression of Smile 2 remains average.

The new target of a nightmare is Skye Riley (played by Naomi Scott). Skye is a high-profile pop artist with a massive following. She has a deadly past of addiction and burning bridges, but her fame is the center of her life. Her life spirals downward when a fatal turn of events has evil followed her repeatedly. Beginning with dark moments from a friend named Lewis (played by Lukas Gage), a pattern of an unstoppable force is in every corner of Skye.

The image in Skye’s head seems to be people who “smile” incessantly. It contains an omen-like vibe. It comes to her mind every day. The horror puts her label in jeopardy. The evil does not stop.

It is entertaining for the first ninety minutes. After that, it seems that important points from the first film are thrown in to wrap up easily. It goes down the path of having more destruction evolve vigorously. There are moments with car chases and hospital peril. Hence the definition of redundancy. The many elements of suspense come together when a situation is awry.

The events from the first film are (almost) forgettable. It is looped in briefly (not entirely). Smile 2 tries to bring the evil to a new level (by tying it in to expand it with an artist). The burning bridges are all around the demonic “smiles.” It is a (gradual) sequel where momentum is in tune (at the top of the film), but then quirkiness alters its sophistication. That is because the twists tend to show up (without explanation). It is a concert tour going down the slippery slope of mass destruction. There are many “smiles” at concerts for audiences, but this one may not have the type of movie audiences may anticipate.

The direction of director Parker Finn fuels characterization. The performance of Scott is where Smile 2 delivers the terrifying factors. That is because she is the one who possesses extreme anxiety. She must run from the demons. She must deal with the tormenting moving parts. The state of anxiety (in Scott’s performance) is where the tension of Smile 2 boils inevitably. The craziness of unexplained evil (creating a dangerous impact) fuels the fire. While the rest of the film is a blur, its main character is the savior. It is still invigorating to be thought-provoking. Its execution is (slightly) flawed—two out of four stars for Smile 2.